久久亚洲国产成人影院-久久亚洲国产的中文-久久亚洲国产高清-久久亚洲国产精品-亚洲图片偷拍自拍-亚洲图色视频

您現(xiàn)在的位置: Language Tips> Special Coverage> British Council> Scotland Season  
 





 
 
愛丁堡藝術(shù)節(jié)戲劇展演—扭轉(zhuǎn)世界戲劇界“配對”格局
[ 2007-08-08 21:32 ]

每兩年舉辦一次的愛丁堡藝術(shù)節(jié)優(yōu)秀戲劇節(jié)目展演由英國文化協(xié)會主辦,作為愛丁堡藝術(shù)節(jié)的重要一部分,今年已經(jīng)進入其10周年。該展演匯集了來自英國各地的最新及最有創(chuàng)意的視覺及形體戲劇作品、新型寫作、實驗話劇及現(xiàn)場藝術(shù)等,并為全球的戲劇推廣者提供了一次難得的交流契機。今年中國地區(qū)將有來自北京,上海和香港的16位戲劇界人士參與展演,共同體驗英國最新的戲劇創(chuàng)作,結(jié)交世界各地的戲劇界同仁。

British Council’s Edinburgh Showcase enters its 10th Anniversary this year – featuring the latest, most interesting and innovative UK theatre available for international touring. The Showcase happens every other year and is a unique opportunity for international promoters seeking to engage with UK theatre to see up to 20 productions in just one week and take part in networking events with theatre companies, other promoters and British Council officers. There will be 16 Chinese delegates from Beijing, Shanghai and Hong Kong to attend the Showcase this August.

Sally Cowling has had plenty of experience getting people across borders. As the British Council's director of drama and dance and instigator of the Council's Edinburgh Showcase, which has run bi-annually during the final week of the Edinburgh Festival Fringe for the past decade, she's used to the 3am phone calls from theatre companies attempting to bridge frontiers on the other side of the world.

The day Cowling arrives in Edinburgh following the launch of 2007's Showcase and an accompanying publication, however, her difficulties are altogether more local. The delay on her London to Edinburgh flight is only two-and-a half hours, but such a schedule hiccup illustrates the potential for disaster in showing the wares of more than 30 theatre companies to several hundred delegates, producers and bookers from around the globe.

"At the time we started in 1997," Cowling remembers, "theatre was perceived to be the declining strand of the Fringe. That's not to say there weren't a lot of shows on - it's just that some of the more interesting companies weren't coming to Edinburgh any more. There wasn't enough guarantees that they would get anything out of it in terms of career development. The way we work at the British Council is very much about working with partners overseas, and letting them make up their own minds about what work they want.

"So it's about us, if you like, helping to bring a set of choices in front of them, though it would be naive of me to think that we aren't making choices too, or editing, because we're choosing what we think is the best work from a very broad palette. I hope we're eclectic about it, because we're not a funding body like that. So the Showcase became a place where people who bring shows to Edinburgh will have upwards of 150 promoters from across the world looking at their work. It's about matchmaking, really."

Originally designed to be a one-off event to give theatre a boost in a climate in which the Fringe was seen as being dominated by comedy, the British Council Showcase's success story can be gleaned from the companies it backed in its first year. While established names including Steven Berkoff, Nottingham Playhouse and the Traverse Theatre (the only company to consistently feature in every Showcase so far) featured, relatively new kids on the block such as Suspect Culture and Frantic Assembly were also put in the frame with Out of Joint, the Wrestling School and Northern Broadsides.

From that first year alone, David Harrower's play Knives in Hens toured Germany, and has since been translated into 25 languages. Also from the Traverse programme that year was Mike Cullen's controversial play, Anna Weiss, which toured 10 countries and was translated into 12 languages. At that time, such international exchanges were relatively rare; these days it's more common.

"The thing that's been really interesting," Cowling maintains, "is the relationships that have developed out of initial meetings. Sometimes things don't happen for four or five years, and then there might be a co-production, or some kind of follow up. When Improbable Theatre did the first Showcase, they got a couple of American dates. When they were over there they were offered two tours. So there's this huge arc of success. That's really gratifying to see, because quite often we deliberately choose relatively young companies, like Improbable were then, because international promoters know about Cheek by Jowl and will already have a relationship. What's more interesting, for us and them, is to watch the next generation of companies coming through. We try to support them at that stage, because it can be quite scary, showing off your work to a couple of hundred promoters in that way."

This is part of the reason why the number of companies in the Showcase is limited - so promoters and artists can meet face to face during a busy time in a manner that isn't too much of an attention-seeking scrum. While the 2007 Showcase features two plays by David Greig and Tam Dean Burn's adaptation of Luke Sutherland's novel, Venus as a Boy, for The National Theatre Of Scotland, new works by Stan's Cafe, Filter and Gecko also make an appearance.

In terms of developing relationships, the Traverse followed up its Balkan tour of Henry Adam's play, The People Next Door, with a return visit to Kosova with Adam's follow-up, Petrol Jesus Nightmare #5 (In the Time of the Messiah). Vanishing Point's Lost Ones also visited the Balkans en route to Sri Lanka, and the company stumbled upon a Balkan band who will now take part in the company's forthcoming production later this year.

Similarly, when Grid Iron visited Jordan, they not only introduced site-specific work into a culture with no history of such a way of working, but they then employed an actor from the Arab world to appear in Roam, the company's airport-set exploration of national identity.

For all the Edinburgh Showcase's success stories, there have also been some disappointments over the years. Some shows inevitably haven't lived up to their potential, while others don't transfer or translate well in a new venue. "I never find it easy to explain why you choose something," Cowling admits, "but even with lots of advisors and the best will in the world, there's bound to be things that don't work." Some might also argue that creating a selected tier of work in the manner that the Showcase delivers goes against the democratic spirit of the Edinburgh Festival Fringe. It is also observable that some companies deliberately gear their schedule towards the Showcase, skipping non-Showcase years in order to maximise their potential for inclusion.

Cowling acknowledges both perceptions, but defends her project stoutly. "It's no different from a venue choosing what it programmes. By definition, when you curate something, there are things that aren't being curated, but we come up early and see as many shows as we can that we don't know about. We're constantly trawling what's going on, and if something appeals we will recommend that promoters go to see it. "We don't put big British Council signs up everywhere, because we don't want shows to be just things that promoters go to. It's good for promoters to see audience reaction, so we try and cement the experience and make it as normal as possible."

Cowling's personal favourites over the past decade include 70 Hill Lane, by Improbable Theatre, who would later go on to collaborate with The National Theatre of Scotland on The Wolves in the Walls. She is keen that the Edinburgh Showcase continues to pick up on theatrical trends, be they in site-specific, verbatim, cross-platform work or new writing.

"What we want," Cowling says, "is for countries to take work that surprises them, and not necessarily just take work that we might think fits in with our perceptions of their culture. We want to generate and encourage a mutual form of curiosity, and that can sometimes take years to bear fruit. When it does happen, and when it works, it's a real pleasure." In the meantime, Cowling has a plane to catch, and many other borders to open.

British Council Edinburgh Showcase 2007, August 20-25.
For more information, visit www.britishcouncil.org/ edinburghshowcase

 
 
 
相關(guān)文章 Related Stories
 
         
 
 
 
 
 
         

 

 

 
 

48小時內(nèi)最熱門

     
  吵架英語三十句
  尼日利亞議長叫停銀行“美女營銷”
  英語和漢語之間的詞匯空缺
  全國開展“無車日”活動
  五個手指怎么說

本頻道最新推薦

     
  格拉斯哥 - 喧鬧而驕傲
  蘇格蘭人如何看待蘇格蘭
  愛丁堡新銳戲劇引發(fā)“狂秀盛宴”
  你所不知道的“鉛球文化”
  愛丁堡藝術(shù)節(jié)戲劇展演—扭轉(zhuǎn)世界戲劇界“配對”格局

論壇熱貼

     
   "電視選秀"怎么翻譯?
  how to translate "造星"
  how to translate "特供豬"?
  參加BBC在線競賽 獲免費倫敦游機會!
  how to say "代言"
  “試婚”怎么說




主站蜘蛛池模板: 欧美一级大片在线观看 | 老少配性xxxxxx | 久久精品国产亚洲网址 | 亚洲欧美国产视频 | 国产精品久久久久久久网站 | aaaa级毛片欧美的 | 日本大臿亚洲香蕉大片 | 国产伦精一区二区三区视频 | 色偷偷资源网 | 国产在线精品福利91香蕉 | 国产精品亚洲精品爽爽 | 国产农村乱 | 好吊操这里只有精品 | 盈盈性影院 | 国产精品自拍在线 | 久久久免费视频观看 | 久久精品九九 | 国产精品国产三级在线高清观看 | 在线永久免费观看黄网站 | 久久精品国产精品青草 | 国产成人精品日本亚洲专区6 | 91在线成人 | 一区二区精品在线观看 | 91九色国产porny | 综合 欧美 亚洲日本 | 天天看片天天爽_免费播放 天天看夜夜 | 国产成人精品一区二区三在线观看 | 手机在线毛片免费播放 | 福利片成人午夜在线 | 99九九国产精品免费视频 | 白嫩美女一级毛片免费看 | 日本三级欧美三级人妇英文 | 色综合久久一本首久久 | 黄 色 三 片| 一级特级欧美a毛片免费 | 国产乱码一区二区三区四川人 | 欧美成人免费大片888 | 国产首页精品 | 欧美做爰免费大片在线观看 | 亚欧成人毛片一区二区三区四区 | 在线成人97观看 |